Taking the Roof off a Modern Building

Ta k i n g t h e R o o f o f f a Modern Building

Helen Alice Brunskill 2016

Ta k i n g t h e R o o f o f f a Modern Building

A 120 point thesis submitted to the Victoria University of Wellington LQ SDUWLDO IXOĂ€OPHQW RI WKH UHTXLUHPHQWV IRU WKH GHJUHH RI Master of Interior Architecture.

Helen Alice Brunskill Victoria University of Wellington 2016 School of Architecture

01/ Opening up a provincial modernist building brings new life into the space. The main design elements- the ramp, courtyard and retail frames reactivate this interior.

Abstract Taking the Roof off a Modern Building explores ways to appropriately reactivate modernist architecture, acknowledging the social, economic and contextual constraints of a contemporary provincial New Zealand township. This research is motivated by the lack of use and maintenance of aging Kapiti modern architecture.

02/ Pedestrian street, Mahara Place Precinct containing a selection of buildings built in the 1970s and 80s. Many stores are quiet, oversized and lacking life.

Like many small towns, Waikanae, in the Kapiti Coast region, has a variety of buildings which are often up for lease (fig 2). Within this catalogue, the modernist buildings stand out as ones that theoretically should be adaptable for changing requirements. The aim of the research is to develop a design solution to preserve the Parker Building, situated in Mahara Place, understanding the potential implications for the wider region (fig 3).

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03/ Retail pathways reconnect the interior to the exterior through the use of layered zones. A light adaptable solution to large open Modernist buildings.

04/ The courtyard acts as a central element to the space, connecting the many small nodes of users with each other, creating a hive of activity. This is reactivation.

05/ The sympathetic interior fit out allows the building to be used in a contemporary way, preventing possible demolition.

The research is completed through design experiments which pursue reactivation, examining modernism, preservation and programme. The exploration of spatial possibilities focus on how the Mahara Place shopping precinct may function for social and economic needs of the current society, which differs from when it was built, in the 1970s (fig 4). Designing is done through a process of research into physical and social constraints, while iterating design ideas, feeding off each other to develop the outcome.

New Zealand Modernist Architecture is a relevant research topic due to the prominent place of these buildings in our cities and towns, and their association with many great New Zealand architects. While isolating a site within the Kapiti Region, Mahara Place was highlighted as a strip of buildings not used to their fullest potential. Many buildings similar to these are at risk of demolishment, but research is needed to explore how the interior can function appropriately for the users (fig 5).

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06/ Axonometric evening view of the proposed solution, with the ETFE cushioned roof removed. The layers through the interior-exterior boundary are made up of people, existing architecture, intervention and planting. This is a distinctly provincial solution to a New Zealand Modernist building.

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Dedicated to Mum and Dad for raising me to believe that anything is possible.

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Acknowledgements First and foremost, I would like to thank my parents, Robyn and Ewen none of this would have been possible without your support. To Tim Voss, for your encouragement and enthusiasm, and to my extended family and friends, thank you for your love.

Thank you to Sam Kebbell and Martin Bryant, your guidance throughout the year has been invaluable. You have helped me to understand the possibilities of the profession. I want to express my gratitude to the other lecturers and tutors who have taught and influenced me over the past five years.

To the Kapiti/Horowhenua group, you have all taught me so much about the opportunities of the different scales of architecture within the area.

And to the critics through the year who inspired the research with new ideas- Richard Black, Anthony Burke, Richard George, Morten Gjerde, Eudardo Kainz, Simone Kilbane, Phil Mark, Tane Meleta and Fleur Palmer.

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“

The preservation of buildings, structures, or sites in any form is about much more than merely saving their material existence. In contrast to the heritage of earlier periods, architecture and design of more recent vintage represents the ideals and philosophies RI WKH RULJLQDO DUFKLWHFWV WKHLU FOLHQWV DQG VXEVHTXHQW RFFXSDQWV PDQ\ of whom are well-known or even still alive. Capitalising on those visions is far more complex than ever before, but is as much a part of the preservation as the preservation of the physical fabric.

7KHVH LQWHQWLRQV DUH WKH PRVW GLIĂ€FXOW WR FDSWXUH WKH KDUGHVW WR LQWHUSUHW DQG WKH most complicated to defend for an architecture that is often much more the result of theoretical concepts than the buildings of earlier periods. At the same time, maybe we can also learn something from this past, its optimism, and this interest in improving the quality of life, not just for a few, but for everybody.

Prudon, Preservation of Modern Architecture

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Contents Context. Opportunity. Proposal.

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00/

01/ Introduction

Abstract vi Dedication xi Acknowledgements xiii Contents xvi Research Methodology and Design Chronology xviii

Design Overview

03/ New Zealand Modernist

04/ Preservation

Modernist Architecture Built in Furniture Compacting Programme Office Built in Furniture

34 36 38 40

06/ Garden The Middle Hortus Conculus Paddington Reservoir

02/ Waikanae x

Modernist Conservation Materials Ruins Programme Elements Design

09/ Conclusion

48 68 70 74

109

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86 89

Preservation Provincial Modernism in New Zealand Programme

122 126 128

11/ Appendix 136 140

References Figures

Paraparaumu’s Influence of Waikanae Small Box

08/ Discussion

10/ References and Figures 132

17 18 22 26 28

05/ Retail

07/ Solution 100 101 104

Mahara Place Setting the Scene Initial Design Parker Building Impression History

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Research Methodology Downton (2003), states that “designing as a way of researching”, facilitates a “process [which] is fundamentally focused on enabling decisions to be made”. This is used throughout the research as a driver.

Research through, for and about design, terms coined

by Frayling (Findeli, 1999), illustrate ways of enquiring into design. Research for and about design are done to aide and support the process of designing. This includes contextual, theoretical and precedent related research.

examined the overall Mahara Place site while completing sketch designs of various buildings. Preservation experiments introduced theories of preservation and programme issues, resulting in a series of small interior experiments based on simple reactivation methods.

The final reactivation solution involved focusing on the conservation of a single building. Each step gathered new information sources and design ideas, which were used in subsequent sections to further explore the design problem and enhance the solution.

Research through design is completed over three key sections; context based research, preservation experiments These research elements feed off each other to propel the and reactivation solutions. Context based research project forward.

April-May

March

June

The research began by looking at the Kapiti Coast, identifying possible interior projects and sites within the wider area.

The initial design looked at how multiple buildings, within the shopping precinct, could be intervened in order to work as a whole and to bring more people to the area.

Building upon the previous design research, the aim was to create an intervention that was more sympathetic to the exterior structure as well as the interior.

Mahara Place was selected as an area which is tired but has potential for the interiors of the buildings to better function for Waikanae.

It became clear that the interior refit for a community based building could have positive impact on the whole of Mahara Place.

The June Design review promoted further research into provincial modernist buildings, and how design may aide its preservation.

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Design Chronology The below images show the order of design research experiments, illustrating how the iterative and informed decisions took place throughout the research period. The first phases focused on finding a scope within the setting of Mahara Place. Leading towards preservation and reactivation, the design narrowed into an interior based solution for a single building.

Aug-Sept

July

Oct-Nov

With the influence of Modernist Architecture, a thick functional wall was designed to allude to new programme. The design began to question ways of intervening.

A design guide of elements that would help to preserve a building, was discussed in the professional review. The research began to explore how function would be a primary design driver.

Programme exploration into recreating retail to suit both the building and contemporary Waikanae occurred.

Placed on the edge of the building, activity can be observed from the street.

One way of intervening of the building was to explore how an addition may be a layer on top of the existing fabric. An inhabitable facade was designed.

The design of elements led to a series of interior objects that could be used in multiple situations.

The design appeared to need a final scheme that functions clearly.

The Interior Garden became the temporary solution to complement the retail stores. A place of tranquility, allowing the programme to change over time.

07/ Design Chronology

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Introduction 01/ A Solution to the Reactivation of Modernist.

08/ Kapiti Coast

Waikanae Library, former Post Office 1978, sits at the North-West end of the street.

Design Overview How can we reuse modernist buildings in the regions?

A solution for these buildings is retail; big box retail is the tendency within provincial towns. However, this has been shown to be unsuccessful for the community as a whole – drawing people away from town centres, causing main streets to become empty and the loss of local businesses (Curran, 2002). The reactivation design for one of these lonely buildings, the Parker Building, Waikanae, is for ‘small box retail’ to be placed at the perimeter, the middle remains. Using the centre as an isolated garden allows for adaptation in the future.

Waikanae, like other provincial towns, has a range of buildings which are abandoned, for sale or up for lease.

These buildings vary in age and style, however modernist examples lead to an apt case study for reactivation of townships.

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Modernist architecture is supposed to be flexible, open plan and able to change use. Clearly there is something wrong with the Parker Building, because of its disuse, therefore there must be issues with context, adaptability of interior, programme, access, amenity or anti-progamme.

Small cafe’s and shops in fill between the larger buildings.

Existing Entrance

Store goods can be seen from the exterior to draw people in and create density at the edge.

Existing facade remains.

Views to interior courtyard through the lens of timber frames.

09/ View of preserved shell, with active interior.

Activation of the Boarder

The design is based around reactivating the site through testing and critiquing preservation methods.

Programmatically, the solution becomes a combination of small retail stores on the exterior edge and a community courtyard in the centre. This design solution introduces the newly reactivated building, offering an active edge that draws people in. The eight ground floor, timber framed shops are placed at the boundary between the interior and exterior. The interior garden acts as a back drop to this activity, and could be used for relaxing and recreation. Stores placed on the upper floor look into the double height garden space. The exterior shell is preserved as ruins, narrating the history of the building.

Exterior Street Stores Circulation Inner Garden Beds

Densification of the Back Wall

Courtyard and Garden Walls

10/ The plan shows the garden courtyard designed around the principles of hortus conclusus. The stores on the exterior follow the same geometry to activate the facade of the store, creating maximum connection between the Parker Building and Mahara Place.

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Pathways Lead from Stores to Courtyard Seating to Reflect Vertical Circulation

A

Plan 1:200

Interior garden within the double height space.

First floor circulation on the exterior edge. Views out to Mahara Place.

Ground floor circulation on interior edge. Stores can be seen from the exterior to draw people in. There are views out to Mahara Place.

11/ The repetition of the small box stores are highlighted in this section, where the repetition of the structure informs the initial placement of the stores. Proposed retailers offer basic amenities to a provincial setting.

menswear

local bookshop

hairdresser

bakery

florist

socks

beauty products

gift shop

cafe

cafe

Indicative tenants

ladies clothes

toy shop

New roof, based on th existing structure. ETFE cushions allow for year round use.

The open space between stores allows for expanding tenancies. e.g. cafe seating

Existing entrance.

Section A 1:100

Structure of timber frames in a lighter version of the gridded structure, with the same proportions.

The solution aims to explore reactivation through a design which encourages more people to use space functionally, responding to the regional context. This is done by reintroducing adaptability into the modernist building through simple but bold design moves.

Versatile shelving system.

12/ The small box stores offer flexible retail options including a variety in size of shelves, desks and partitions. Upper stores have a relationship with the garden bellow.

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Introduction 01

Walkways offer views through the transparent layers of the intervention.

courtyard

streetscape

Surface materials provide separation between spaces.

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13/ Timber framed small retail activate the edge of the building, circulation paths highlight a moment of flux between retail and garden.

Waikanae 02/ Repercussions of the Surrounding area on a Tired Building.

14/ Waikanae

Greater Waikanae

Waikanae Beach 15/ This highlights the placement of the township between the rise of the Tararua Ranges and the parabolic dunes, bordering the beach.

Dunes

Township

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Tararua Forest Park

Waikanae 02

Waikanae Central

Waikanae Park

Mahara Place Parker Building

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State Highway One Rail Line

Waikanae East

16/ The view of the township shows the location of the site within the Waikanae, surrounded by suburban housing and light industrial.

Mahara Place 18 Mahara Place 1975 16 Mahara Place 1976 14 Mahara Place 1999 10 Mahara Place 1978 8 Mahara Place 1976 6 Mahara Place 1977 50 Main Road 1973

15 Mahara Place 1978 13 Mahara Place 1982 12 Mahara Place 1979 9 Mahara Place 1974 5-7 Mahara Place 1972 3 Mahara Place 1973 4 Mahara Place 1973

2 Mahara Place 1974

17/ Mahara Place Architecture

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Waikanae 02 18/ The initial research of Waikanae and Mahara Place involved understanding the position and context of the shopping precinct, as well as the programmatic relationships within the area. Inward facing facades of the street have a close relationship to users, highlighted by the movement lines.

The outer facing exterior edge acts primarily as service entries. Key buildings are located at the pedestrian entrances, book ending the precinct with public service programmes.

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Mahara Place Located on the Kapiti Coast, North of Wellington, Waikanae is town of 10,700 people (MacClean, 2015).

Mahara Place is in the town’s centre, perpendicular to State Highway One. It is a pedestrian shopping street with 14 buildings and 39 tenancies, including: a library, a gallery, bakeries, cafes, real estate agents, banks, a post office, cinemas and other retail stores (fig 17) (Kapiti Coast District Council, 2015).

Impression Mahara Place, 10am Saturday 14 March 2015.

Car park full, a couple of children playing in the playground and a smattering of people wondering around the shop fronts. Many shops are solely occupied by the shop assistant. The car park appeared to be false hope. The community was in the supermarket, adjacent to the mall, rather than residing in the large, light, open-air courtyard.

Waikanae Town centre is larger than average compared to other New Zealand towns with a similar catchment size, highlighting the dependence on State Highway One traffic. These temporary users may depart due to the upcoming MacKays to Peka Peka Expressway, negatively affecting income. The shopping precinct operates as a “local convenience and supermarket” area, rather than a town centre. These larger stores appear to be replacing the “traditional pattern of narrow fronted store fronts lining a shopping street” (Heath, 2011).

At face value, the street should be the bustling centre of Waikanae, located at a point of transverse with State Highway One, the Railway Station and the key route to Waikanae Beach. However the garden lined, hanging basket and park bench filled space gave false hope for the atmosphere.

Looking down the street, an eclectic mix of shop fronts were arranged on the axis. Cobwebs hung from overhangs, some desperately required a coat of paint and for lease signs scattered the windows. Many don’t give hints to the life contained within.

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Setting the Scene Concrete block highlights New Zealand’s approach to modernism.

19/ Catalogue of elements within existing Mahara Place buildings. Elements having linear components with symmetry.

Inset entry accentuates transition into the building.

20/ Mahara Gallery Entry, 18 Mahara Place, 1974. Originally the Waikanae Library, designed

by Bill Allington.

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Symmetrical design.

Waikanae 02 Flat roofs, feature of many modernist designs.

21/ 50 Main Road, 1973.

Upper windows allow for views into Mahara Place.

Colourful garden beds placed in the center of the street. Showing upkeep.

22/ Roof Lines, mostly flat create a simple skyline.

This is contrasted by some pitched roofs.

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Signage hangs, indicating to store.

23/ The entrance way to the Parker Building, shows the linear elements and basic forms. This inset way is similar to Mahara Gallery (fig 20).

Linear battens on underside of overhang.

24/ Mahara Place street view, Parker Building, 1974

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Large walkways on each side of the street 4.5m.

Waikanae 02 Inhabitation of the edge.

Stairs on the corner of the site allow for alternative route through the edge of the building.

25/ Waikanae Library, 15 Mahara Place, 1978

Fins frame window openings.

26/ User flows and patterns. Most people observe meet and migrate alongside the inner faรงade of the buildings. Four access ways show entry points into the area.

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Initial Hunch Designs Initial research produced ‘hunch’ designs that explored ways in which activation could take place. Interventions were influenced by the observed movement within the wider space. 15 Mahara Place, Waikanae Library, and 50 Main Street were chosen for the way they bookend the set of buildings with apparent modernist principles.

Figures 27 and 28 are a redesign of the Waikanae Library, retaining the current programme and introducing a cafe.

Figures 29 and 30 detail a restaurant which responds to the ideals and needs of a small community.

Seating allows for placement within the facade.

Existing Entrance

Inserted cafe influenced by a techtonic approach to intervene.

0

5

10

27/ Library-Café Plan. The library’s redesign retains the current programme while introducing a café, allowing socialising between the users of both programmes.

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Waikanae 02 Quietness- Back of house library.

Research and individual study.

Children’s area.

Noisy- Cafe

0 28/ Library-CafĂŠ Section. The aim was to change the library to suit a community based, technology driven future, creating places to access information socially and digitally alongside traditional methods.

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10

20

Kitchen open to public with seating alongside.

Booth seating gives alternative option to communal dining.

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Communal dining located on both exterior edges.

4

29/ Restaurant Plan. Along with responding to movement and contextual patterns of Mahara Place, this restaurant intervention responds to the ideals and needs of a small community. Seating options are based around communal dining, joining groups of people together.

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Waikanae 02 30/ Restaurant Section. The upper floor contrasts the restaurant’s space down stairs, offering a function area. A new stair case allows for connections between general dining and function spaces, bringing vertical circulation to the forefront.

Two floors arose the issue of kitchen placement for ease of service.

Stairs at edge end of building allow for service and served space.

16 8 0

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Parker Building Impression At first sight the Parker Building is clearly the largest building in Mahara Place. On the corner of the street, opening out onto the currently empty courtyard, it is located at a key position. The modernist building appears to be trademarked with a large 123 Mart sign, which weakens the authority of the architecture. The interior of the building seems daunting, dark and large. The shops seem oddly placed in a large building.

The upper floor of the building seems unapproachable due to narrow and unwelcoming staircases, behind closed glass doors. This upper floor is hidden behind small windows and curtains from the exterior.

It feels ugly and large, without warmness or delicate detail Further Analysis in Appendix A-C.

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31/ Parker Building

History The Parker Building was selected as a case study, due to its normality in the landscape of provincial New Zealand, it is the common rather than the gem. It can be used to test reactivation of provincial modernist buildings. Built in 1974 for Mrs H. L. Parker for $110,000, the two storey retail building has had alterations and new fit-outs in 1979 and 1998 respectively. Current tenants are: Artel Gallery and Store, Bright photo Lab, The 123 Mart, Coast Access Radio, Smartswitch Marine Monitoring Systems and Parkinson’s New Zealand. A reinforced concrete frame was designed with an open interior (Kapiti Coast District Council, 2015). Three internal columns support the upper structure, with partitions along these dividing the space. All services are located to the rear, with a service hallway linking the shops and offices.

There are some key issues with the building; a high tenant turnover and lack of connection to the street.

These shops have large store footprints for the required retail of a small population (Stockwell, 2009), indicated by few customers. Little connection between the ground floor, first floor and the street causes unclear navigation of the building.

32/ Mahara Place, 1992. Fit out drawings show division of tenancies with the building.

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Waikanae 02 dr. 200x50 rail

2.9mm bolt fixings to RHS cornice 15mm Fyrestop on 100x50 framing Y

dr 150x20 38x38x2.6 RHS

ex 150x50 ex 150x50 mullions architraves

150

screw fix RHS to edge of flooring

geogian wired pol. plate X

V

2/150x50 rail

3mm pl.

50 42 Bondek floor on 125x50 joists 600 crs

6mm georgian wired clear glass beaded in

RHS

1980x1010 door

Y PLAN RHS FIXING PLATE ex 150x20 skirting

FIRST FLOOR WALL ELEVATION

50

150

150x100x3ms plate 4 c/sk screw fixings

15mm Firesop both sides framing

5x5 rebate in architraves

15 Firestop both sides of framing

ex 150x50 rebated for glazing

dr 150x20

5x5 rebate in top of ex 20 skirting

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50

ex 70x20 architrave 6mm bisonboard on 100x50 framing

X

door

V

Y

Details 1:10

LANDING HANDRAIL

33/ Stair Detail, 1979 Timber handrail with steel fixtures. Rawness of connections. The disengagement of the railing to the landing will allow for shadows.

34/ Wall Detail, 1979. Georgian wired glass wall, disjointed by vertical timber beads. The wall allows for privacy, but lets some light into the rear of the building.

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ex 150x50 frame

ex 150x50 rebaed for glass & beads Z

Cut through with possible access to first floor.

Courtyard created within building.

Screen allows for community flyers and advertisements.

35/ 2D drawings show movement across the building- concepts are overlaid to produce this drawing, highlighting issues with the current buildings and its lack of people within. Weather often forces people from the courtyard to under the eaves. The cut through allow people to access and pass through the building.

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Waikanae 02 Small public service offices complement the auditorium.

Central community auditorium.

Exterior hallway attached to facade.

Courtyard.

36/ Cut Through. Expanding on the plans explored in figure 35, this concept explores ways for the interior to build upon the street. By creating an alternate route or extension of the street, there is an increase in accidental inhabitation of the built form. The programme is a community centre, so opening the building provides transparency between residents. It was evident pragmatically to offer a community space with outdoor interior space.

This intervention is not sympathetic to the existing structure.

Notice board.

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New Zealand Modernist 03/ A change in view.

37/ Parker Building

Modernist Architecture New Zealand Modernist Buildings, Post World War 2, were primarily small houses and public buildings built by the Ministry of Works (Gatley & Lima, 2008). The simple utilitarian style meant public buildings could be adaptable and have open structures. The Parker Building, along with other provincial modernist buildings (fig 38-43), conform into these non-decorative and flexible ideals, hence it is appropriate for this research.

38/ Maori Battalion Memorial Hall, Palmerston North, 1964. Designed by John Scott, this could been seen as a contemporary marae, bringing together Maori and Pakeha. This highlights cultural influence on Modernism.

39/ Government Precinct, Nelson, 1973-1974. This pre-stressed concrete building generates the illusion of a floating cube. Angular window openings articulate the simple form.

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New Zealand Modernist 03 40/ Timaru Telephone Exchange, Timaru, 1957. With a large glass facade the public building becomes open to the township, showing transparency. This open design is offset by solid side elevations.

41/ West Kindergarten, Masterton, 1955. Trained in the Netherlands Wever’s&Daniell had influence over materiality and geometry. The design follows a simple grid with a large overhang to fit with programmatic needs.

42/ Georgetown Baptist Church, Invercargill, 1967. The solid structure is pierced with small openings filled with coloured class. The minimal exterior is offset by a timber and concrete interior, highlighted by coloured light.

43/ Northland Ltd Building, Ruakaka 1962-1973. Influenced by the nautical placement, the modernist architype is reminiscent of a ship. The playful roof offsets the linear forms.

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Built in Furniture During the 1940s, modernist architecture was restricted by land, availability of materials and limited funds.

The interior of these buildings were designed in fine detail, to perform with maximum function, rebelling from the previous decorative trends. Built in furniture followed this mantra. Storage and ergonomics contrast open space. (Clark, 2000; Hansen, 2013) In 2016, financial constraints are now a widespread issue for many provincial projects (Stockwell, 2009). Through designing a functional piece of temporary interior architecture there is an opportunity to specifically design for function.

44/ McKenzie House, Cedric Firth. The built in furniture element spreads the entire wall, creating functional space. Storage, shelves’, cupboards and drawers, along with a built in sound system offset the open space in the rest of the room.

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New Zealand Modernist Varying shelf sizes allow for varied functions and create ordered storage.

Simple features highlights user interaction.

45/ Donner House, Tibor Donner. A section of the wall has been designed with additional function.

Varying sized shelves allow for the need of less stand-alone furniture.

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46/ Rong Bao Zhai, Archstudio. Contemporary built in furniture element offers a solution to circulation and shelving. Hard materials are softened by planting.

03

Modular element to add/change based on users’ needs.

Compacting Programme As an experiment, three modular furniture elements were designed to fit into current tenancies using the existing ground floor building layout; a cafĂŠ, kitchen and community meeting space. The space uses modernist principles to concentrate utilities in a single area. Multiple programmes are integrated to achieve a unique environment for the community to foster social interaction, for example, the cafĂŠ with community theatre. Timber frames allow for coherent function across the interventions. The designs question if the solution should be more temporary rather than directly reflecting modernist built in furniture.

47/ Hallway Separation. Hallway space measures 3m, allowing four people to comfortably use the space. This width allows for slow circulation because people can linger.

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New Zealand Modernist 03 48/ Cafe seating and counter. CafĂŠ furniture combines needs of customers, seating, as well as business needs, counter and cabinetry. The design allows for the hallway space to be used as part of the socialisation.

49/ Community auditorium and meeting space.

Teared seating, which can contract, allows the space to be used in different ways. Walls around the edge offer both storage and visual privacy.

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OIĂ€ce Built in Furniture Compacting Programme was further developed to create first floor interventions. The modular design for a local medical practice and two other offices allow amenities from the area to be located in one building. Maximum storage and function was the aim, while creating private temporary offices.

50/ Feeding on from figures 47-49, this built in furniture offers an inhabitable wall option. The intervention space is made to be budget friendly, using basic timber construction with plywood sheeting.

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New Zealand Modernist 03 51/ The office elevation combines figures 50 and 52, showing the two wings of office space with a central entrance hallway. Seating on the front face offers waiting space.

52/ Each office is of open design, where no doors offer complete privacy. However, partitions with functional storage offer some privacy.

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53/ Office space lighting exploration highlights issues of the design, fig 50-52. The wall and ceiling enclosure created a dark interior.

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43 03

New Zealand Modernist

54/ Density experiments, figures 47-53 are combined to offer a design solution for the Parker Building. This raises questions of how the design can be influenced by more than modernism.

Contemporary design and preservation techniques may further the design.

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New Zealand Modernist 03

Existing roof.

Medical office spaces module. First floor.

Office spaces module.

First floor.

Meeting space module.

Ground floor.

Kitchen module.

Ground floor.

Cafe module. Ground floor.

Existing interior structure and partitions.

Existing floor slab.

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Preservation 04/ Protection of Modernist Architecture?

55/ Parker Building

Modernist Conservation Modernist buildings and their preservation has been a Modern (2008) raises the following questions: topic of concern since the turn of the century. At this t Should modernist buildings be preserved, point, many Modernist buildings were over 50 years old and eligible for historic place listings (Vesci, 2005). The t Or celebrated, preservation of these buildings appears more complex t Or Painted over, than other examples of historic architecture, because they represent more than an aesthetic and physical materials, t Or reclad? (Gatley & Lima, 2008) but “the ideals and philosophies” of the designer.

Modernist architects’ creations were about a way of life, simplicity of design elements and languages to embody “There was, and often still is, the the social morality and anti-historic ethos (Gatley & additional problem that many Lima, 2008).

When these buildings need preserving, restoring or renovating does not protect the way of thinking, and respect the initial ideals behind the building. This struggle highlights the need for new and innovative ways to preserve. The use over time and expected life span predicted by the architects were unclear due to new techniques and materials. This questions if repairs, restoration and the turning back of time is the correct solution (Prudon, 2008). Current practice of preserving Modernist Buildings is one of debate. Long Live the

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members of the public have difficulty understanding and appreciating the heritage value of the modern, sometimes struggling with the very idea that modern architecture might be considered to have heritage values.”

(Gatley & Lima, 2008)

Preservation 04

DOCOMOMO, Documentation and Conservation of buildings, sites and neighbourhoods of the Modern Movement, highlights the need to raise public awareness and recognition of historic value. The significance of a Modernist Building is assessed upon chronology, building type, scale, location, architect, architectural design ideas, construction method and material palette (‘Docomomo’, n.d.; Gatley & Lima, 2008). Similarly, The Venice Charter, adopted by the International Charter for the Conservation and Restoration of Monuments and Sites, highlights the “common responsibility to safeguard them for future generations” (ICOMOS, 1965).

However, the thesis research takes a different stance on preservation – reactivation rather than restoration.

The aim was to find a design solution which doesn’t merely reinstate the original appearance, structure and aesthetic of the building, which The Venice Charter and DOCOMOMO advocate. Instead it aims to find ways that Modernist Buildings could, again, become an integral part of our built fabric, functioning in a contemporary way.

Some argue that a building’s preservation can be restricted due material failure, deferred maintenance, functional and physical obsolesce (Prudon, 2008). Modernist buildings were designed with new construction methods, Conservation and preservation guidelines include: prefabricated materials and often on constricted budgets, t Not changing layout or decoration of a building posing the question: was it the architect’s intent for t No new construction, demolition or modification the building to last forever? Or due to abandonment is demolition a real solution (Prudon, 2008)? to alter the mass or colour The method has been to critique, through design, topics t All periods of the building must be respected and techniques raised in the above theory. These design t Restoration mustn’t falsify historic evidence. strategies are: preservation, densities, proximities and layers, activating the edge, circulation and explorations of function. The design aims to create an alternative solution (ICOMOS, 1965) to better address and make use of provincial Modernist Buildings, highlighted throughout the experiments.

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56/ Community Centre CLEC Montreuil / CUT architectures. Located within a community housing development this alteration project rejuvenates the dilapidated building. The exterior of the 1960’s building has a layer of golden aluminium applied to the façade. The project shows how small moves can make maximum change to the appearance of a building, a face lift.

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04

Preservation

57/ Interior Hallway of Layers Diagram. A central circulation element is created by a series of intervention layers. The layers begin to change the relationships and proximities between different spaces within the building. The aim is to create varying levels of transparency between tenants.

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53 04

Preservation

58/ Interior Hallway of Layers. The engagement between the functional interior spaces and the exterior happens through vertical and horizontal circulation spaces. However, it lacks the delicate and respectful approach that is required with this building.

Binary to Blurred

Oppositions

Bisection Dividing Bisection 59/ A series of collages informed experiments about relationships between intervention and existing.

On a scale from binary to blurred, relationships were explored, with parti models, understanding how new elements could intervene on an existing framework.

Expanding Bisection

56

Framing

Preservation 04

Depth to Frame

Layers

Layers with Depth

Connecting Layers

Intertwining Layers

57

Can people inhabit the faรงade to create an intermediate threshold between the exterior and interior?

60/ University Library in Cayenne, French Guiana, RH+ Architecture. Architecture is enclosed by a timber shell, creating an intermediate threshold between the interior and exterior.

61/ Activating the Edge. Initial facade sketches of how the edge could be activated.

58

Preservation 04

extruded existing facade allowing inhabitation

emphasis on entrance, selected light

inverse, rotation point to highlight entrance

static layers, depth providing levels of access to building

static layers, depth alters users pathways, entrance way is mapped

dynamic twisting

site

62/ Applying layers to the exterior.

59

63/ This Faรงade design activates the face of the building, giving the external shell interiority. It also changes atmospheric qualities of the interior, offering shading from the sun.

Preservation

64/ This collage aims to illustrate moments of activity contrasted with privacy, highlighting relationships between existing and new materials. The collage combines the design for the restaurant, figures 27-23, with possible residential programming.

Tenancy 1

Tenancy 2

Shops

Apartments

Preservation 04

Circulation

Private Dining Restaurant

Social Dining

Technology

Circulation

65/ Library atmosphere. Technology zones contrasts traditional book shelving.

64

Traditional

Preservation 04

Apartments Community Space

Boundary 66/ Private and Common. Apartment living is above community spaces

65

67/ Ecology of a Building. This diagram highlights the thinking of the Parker Building as a whole.

When designing for the building, while considering preservation, the issue of what parts of the building to preserve/save and what could be removed led to a diagram which shows relationships between parts of the building. Through this analysis it became evident that traditionally preserved elements of a buildings, for instance, the facade, was also of a more permanent nature. This diagram resulted in designing for the building, rather than for a new programmatic use (fig 83-86).

66

Preservation 04

1

3

3

Permanent Semi Permanent Temporary

67

Existing Materials

Aluminum Joinery

Painted Asbestos

Tiles Ceiling

Bricks

Painted Bricks with Timber Railing

Ceramic Tiles

Timber Battens

Carpet

Georgian Wired Glass

Plaster

Cream Paint

Bodeck Timber

68/ The materials in the exiting building are durable, simple application and construction methods.

68

Preservation 04

Proposed Materials

Steel Sheeting

Rough Sawn Timber

Timber and Steel Connections

Corrugated Iron

Fabric

Plywood

Timber Flooring

Polished Concrete

Timber Cast Concrete

Timber Lengths

Timber Connections

Material

69/ The new materials use the same ideas, with exposed connections and easily sourced materials that are familiar in the local setting.

69

Ruins The life of a building is not always predicted by the architect, the decay of a building is part of its narrative.

Robert Harbison (1991) discusses how “ruins can be a way of seeing”, highlighting emotions of history and the past. Since the 18th century, ruins are more than issues of maintenance, they emote ideas of the “beauty of disorder”, giving the user a context within the life span of the built environment they inhabit (Harbison, 1991).

In Mo Michelsen Stockholm Krag’s research, Transformation of Abandonments: a New Critical Practice, abandonment and increasing decay in the rural villages of Denmark is described and the design solution explored. People are leaving their settlements for major cities, which are experiencing a steady growth in population and economy, due to a decline in farming and associated industries. Krag proposes an alternative to the European Union’s state funded demolition scheme for neglected houses. Telling of the materiality, immateriality, cultural heritage, building densities and local narratives, allowing the memory of the ruin to remain in the users mind. Similar to projects from artist’s Gordon Matta-Clark and Rachel Whiteread (fig 72-73), the buildings focus on architectural solutions to transform full scale abandoned buildings. The buildings are treated as artefacts, in varying stages of controlled ruins (Krag, 2014).

70

This research has developed a similar mind set of preservation to Krag, through the revealing of layers by removal of current function. However, it differs by reversing the buildings purpose with the primary goal of it once again being a highly functional space (fig 71).

Provincial New Zealand is struggling with a decline in population and economy, people are using the amenities within nearby cities (Allan, 2009). The modernist buildings are a key part of the history of many of these places. Based on this the Parker Building has become increasingly likely to be abandoned, however rather than completely demolishing it, the building can be used to play homage to its history. By using the existing structure and keeping the existing materiality, the building can be appreciated and celebrated. Aspects of the original fit out tell stories and events of the past, allowing the memory of the building exist through the new layers.

“The local people are carriers of narratives of a place, and they are the connection between the embedded fragments of local identity, which remain in the abandoned building” (Krag, 2014)

Preservation 04 70/ Controlled Ruin 2014, Thisted Municipality, Denmark. Ruins show how the designer is crafting the narrative of the building. The building has had programme removed and is in a stage of ruin.

artistic approach

CONTROLLED RUINS Thisted, Municipality, Denmark

gradual transformation

programme

THESIS PROJECT

abandoned buildings complete demolition short term context- food production based on farming and industries

Mahara Place, Waikanae, New Zealand interaction with local people

temporary artefacts identify and activated values of embedded material and immaterial 71/ Level of impact on thesis project.

71

72/ Gordon Matta-Clark. The abandoned building is transformed into a temporary piece of art, at a stage on its way to demolishment.

73/ Rachel Whiteread. By casting interior space, the history of the workings of the building become a piece of architecture art, similar to that of Clark and Krag.

72

Preservation Three layers of history.

Ruin elements, treated like objects.

04

Original structure.

74/ Palimpsest Ruins, Rome. Like many old cities, Rome has countless examples of palimpsest.

Architecture which has become superimposed with layers of change. The architecture becomes a patchwork of history, highlighting aids of preservation. This example shows how the Theatre of Marcellus has had additions over time according to programmatic needs. The latest addition involved adding apartments on the upper levels above the theatre.

73

Programme Elements Design 75/ Designing in isolation from programme, a disconnect between levels in the building became apparent. The existing building has two narrow stairs at each end of the building, which push circulation and amenities to the rear. A ramp moves the busyness of users from the rear, where current vertical circulation is, to the front. A ramped solution explores gradual movement through the building, creating awareness of context and the surrounding users, opening up the building. This ramp breaks through the existing floors, a bold decision that the space will be based around the current needs of the community.

74

75 04

Preservation

76/ Section of ramp element.

77/ Elevation.

78/ Plan section.

76

Preservation 04

Ramp sketches These sketches propose how a ramp may be used for alternative circulation. Allowing the building to be used as a whole and opening up the separated two floors.

79/ Elevation of balustrade.

80/ Axonometric wrapping around

77

Repetitive supports influenced by the grid structure of the Parker Building.

81/ Scale model of ramp 1:20

Timber ramp. Pine Ply low cost materials work within the provincial ideas for the building.

Sheet Steel balustrade is continuous; a single element piecing through the building as a gesture.

82/ Ramp model.

80

To maintain the memory of the past, a series of small outcomes work to specifically add new layers to the building. The importance of programme was questioned, asking if the building could be designed around rapidly changing needs.

83/ Overhead frame.

84/ Shelves.

82

Preservation 04 85/ Garden wall.

86/ Garden ramp.

The adaptive design response was at odds with the desire for a fixed programme, with design responding to hunches and relationships to the space. The elements show a series of interventions responding to the building’s function and form.

83

Retail 05/ A Provincial Issue of Big and Small Box Retail.

87/ Coastlands

Paraparaumu·s InÁuence on Waikanae Over the past 60 years, big box retail has become increasingly present in cities and regions within New Zealand. For example, in nearby Paraparaumu big box stores are rapidly engulfing vast amounts of land near the airport (Blundell, 2013). Not only does this building type support urban sprawl and dependence on cars, it also “contributes to the decline of urban and neighbourhood centres as it attracts retail activity out of the central business district to the urban fringe,” (Curran, 2002) a phenomenon happening to Mahara Place. At face value, large chain stores create more jobs for the area, offer lower prices and more convenient shopping. However, over time they can replace small local businesses as these cannot remain competitive (Curran, 2002). Major chain stores offer a diverse selection of products and services, suited to the busy lifestyle of many. Small and medium size retail enterprises are unable to purchase bulk products and offer significant discounts (Stockwell, 2009).

There are countless examples of the ill effects of Big Box retail, with Stockwell (2009) commenting that the arrival of “large scale retail outlets such as The Warehouse in rural districts” create “even further pressure on the remaining in SME [Small or Medium Enterprise] retail businesses”.

In a small town in Iowa, America, 47% of retail trade was lost within the first 10 years of a WalMart opening (Stockwell, 2009).

86

Small towns in New Zealand have undergone changes in traditional retail, opting for chain stores or online retail.

With this change, in June 2015, Wanganui had 35 empty shops that were either for sale or lease (Zoio, 2015).

Decreasing foot traffic in the central cities “increases the empty shop rate” causing a strip mall development and “large retailers replacing town-centre outlets” (Stockwell, 2009). Big Box Retail stores remove the buzz within town centres (Stockwell, 2009), offering explanation for the recent decline of Mahara Place. Stores are unable to compete with nearby larger stores, especially those in Paraparaumu, 7km south.

Retail 05 88/ Retail tenancy example, Paraparaumu 2015.

87

89/ Rye Lane

88

Retail 05

Small Box Suzanne Hall, writer of Super-Diverse Street: a ‘transethnography’ across migrant localities, and City, Street and Citizen, explains the economic and cultural advantages created in the dense multi ethnic streets of London.

“Exploring the city at the scale of interiors and individual recalibrations of retail space and rental provides important cues for understanding retail renewals, migrant entrepreneurs and their transformations of the high street”.

Rye lane, in Peckham, South London, has 199 retail units densified into one kilometre of street frontage. The initial fabric of the street was mid-1800’s suburban villas for the middleclass. With industrialisation, stores were built in the front and back yards, creating a dense mixed fabric (S. M. Hall, 2015).

1

3

In Rye Lane one quarter of independent stores have been either sublet or subdivided into smaller spaces. One retailer rents his store for £10,000 per annum. He sublets a hair salon £80 per week (£4160 per annum) and a 6m² Western Union for £9600 per annum. In the initial years of being in business, the rental income supported his business. 75% of customers are likely to purchase other products from retailers in the same building, creating a market atmosphere that allows stores to feed off each other (S. M. Hall, 2015).

2 7 7 1 2 3 4

Fruit and vegetable stall Mobile phones General convenience goods Nails Salon

4

7 6

6 5 6 7

5 Money Transfer Beauty supplied Hair Salon

90/ Hybrid Retail Interior, from Rye Lane. The plan diagram illustrates how the seven tenancies fit into small zones within the building. The zones vary in footprint according to space requirements.

89

Common pathways between zones allow for circulation.

Smaller stores located on the perimeter of the host building.

Opportunity for some stores to occupy multiple tenancy zones.

Retail options for small towns could work under the premise of small stores, similar to those in a market. A small box alternative is the following:

Bargains 6%

Furniture and Decor 13%

Clothing 29%

t Low cost, t Low maintenance, and t High Density.

Beauty 13%

Retailers could offer small amounts of specialty products or services, with lower overheads and margins.

The patchwork of surfaces and expressions allow for retail diversity. Walworth Road, which is similar to the Kapiti Coast, is undergoing large amounts of regeneration (S. Hall, 2012). Figures 91 and 92 compare the retail diversity of Walworth Road to current Mahara Place. This shows there is opportunity for the retail spaces of Mahara Place to be densified into a smaller area. The diversity within shops promotes a range of programmatic reasons to inhabit. Big box stores highlight that people are more inclined to go to a single location, for convenience. The diversity within shops promotes a range of programmatic reasons to inhabit. Big box stores highlight that people are more inclined to go to a single location, for convenience.

Food Retail 17%

91/ The range of businesses on Walworth Road’ vary. The retail activity is primarily food and clothing based, as expected for most main streets.

With a lack of offices and commercial activity, Mahara place differs to this case.

Food Services 22%

For Rent 13% 860m²

Retail 31% 1710m²

Community 10% 1160m²

Amenities 10% 930m²

Entertainment 3% 210m² Office/Commercial 18% 1280m²

90

Food 15% 960m²

92/ Tenancies in Mahara Place. This chart shows the type of current tenancies and the amount of floor space. It shows the retail is the primary programme of Mahara Place followed by Office/ Commercial and shops for lease.

Retail 05

In translating the busy and dense atmosphere of described precedent projects to the Parker Building, it became clear it was important to the small scale retail of Rye Lane.

Connections between spaces within the host stores of Rye Lane are often zoned areas rather than fully isolating each tenancy. In the design for the Parker Building each shop was zoned using a grid from the building’s structure.

By doing so, the windows framed by the structural columns outline each store and allotted a footprint of 5-10m², fitting within Hall’s study. Each store allows for a circulation area of 1150mm, enough space for two people to stand side by side (Ernst. Neufert, 1980).

91

92

Retail 05 93/ The Open: A Bakema Celebration, was the Dutch Pavilion at the 2014 Venice Biennale. The light weight constructed Pavilion was designed to act as a scale model of his Lijnbaan Shopping area in Rotterdam. My design uses light timber structure to develop a similar effect and view on open society. Each zone becomes clearly defined, however transparency is created between each space. The stores allow for organic growth, with stores that can shrink or expand as spatial requirements change.

93

Circulation hallway on inner perimeter.

The Warehouse, Paraparaumu 5000 m²

Rye Lane, 5-10 m²

Existing Parker Building Retail

The central space becomes an opportunity for a programme to complement the small box retail on the edge.

94/ Activating the edge with retail involved using the structural dimensions to form initial footprint sizes. New retail stores are formed by looking at typical tenancies- the existing, Rye Lane and Big Box. The stores are then divided into two floors and finally adding a circulation path. The question of the middle is raised.

94

Retail 05 95/ Acoustic Panel. A partition system is a temporary element to create inhabitation of defined space. This acoustic partition alters the acoustic privacy, allowing for larger spaces to be divided temporarily into smaller spaces. The perforated surface creates connections between the spatial zones. This intervention is extremely temporary, however it does not respond to programme.

95

Using the framing technique the shelves become interchangeable.

Transparency allows views of product from both sides, acting as a viewport.

96/ Shelf model. 1:20

Retail 05 97/ Shelf model. 1:20 98/ Shelf model detail.

97

Garden 06/ The Modernist Solution to Hortus Conculus.

99/ Crossrail

The Middle Once the edge became activated a series of programmatic designs were briefly explored, in plan, to see how the large space 450m² could be used (fig 100). The garden became a solution that sat well alongside the retail, complementing it with a focus on the community of Waikanae. As a whole, Mahara Place has the ability to become a town centre, a social space for the community.

Jan Gehl (2013) states that “modernists turned their backs on the typologies of traditional cities, including the street. Studies of public spaces brought back the street as the most important public space. Jane Jacobs in The Death and Life of Great American Cities defends the street as a social space, not just a space for the transport of people and cars. Similar to traditional planning, common squares can be designed within active parts of the city, they can act as “intimate and urban spaces” (Gehl, 2013). The centre of the building can become a social intimate space, knitted and inserted within the built fabric.

Ideation A1

A2

A3

Apartments would make use of the space at the rear of the space, however the width of the space only would allow for few apartments.

A kindergarten would allow for a community type business, supporting a growing and diversifying population.

However the layout doesn’t allow for much natural light.

01 02 03 04 05 06 07 08 09 10 11 12 13

14 15 16 17 18 19 20 21 22

A simple option would be using the area as a carpark for both new retail stores as well as Mahara Place. This would require much of the rear wall to be removed.

A garden allows for a community, while keeping the space available for when future programs are required

100/ Concept diagrams, indicating to programme for the interior.

100

Garden 06

Hortus Conclusus Aben and Wit (1999) discuss the history of the Hortus Conclusus defined by an open roof garden enclosed by walls or a fence. Classically, four paths divide it into quadrants. Each path leads to either an exit, through the surrounding walls, a contemplation area or a seat. The middle of the garden contains an element representing water. It references the Virgin Mary and infant Jesus, and their enclosed environment of the purity of a virgin birth.

Plants were selected under religious meaning and planted in rectangular beds. Recreation occurs in the pathways between the beds (Aben, 1999).

The Enclosed Garden shows how landscape can be organised separately to the natural world. By enclosing the landscape, the natural horizon is shut out and an internal horizon is created. Expansive sky contrasts the containment. The contemporary city can be seen as today’s version of the natural environment being shut out (Aben, 1999). The idea of expansive of sky is dealt with in this particular idea of preservation. Removing the existing roof recreates the enclosed garden which has been around since early civilisation. However, due to the New Zealand climate, the garden would not be habitable all year round if there was no roof.

101/ Patio de la Acequia, Granada, 13th century.

Exploded box plan. The diagram highlights the symmetry created within.

102/ Early plan based on the principles of Hortus Conculus. Seating around exterior with ramp and shops on activated edge.

101

Similar to enclosed garden’s discussed by Aben, Canary Warf Cross Rail (fig 104) and Atocha Train Station (fig 105) combine communal public spaces with internal gardens. Foster and Partners designed an ETFE roof for Cross Rail in London. These are a “highly insulating material, to [help] create a unique microclimate for the garden below” (‘Canary Wharf Crossrail | Foster + Partners’, 2015). The planning for climate is reflected upon by Gehl, where squares show people prefer warm space in the sun (Gehl, 2013). The structure for the proposed roofing is designed using the grid pattern identified in the building’s structure. The landscape is further enclosed by the stores on the boundary edge.

Moments of flux between the landscape and the retail stores is programmed as circulation, a moment of transition between retail and the garden.

“ Their rooflessness is a fantastic freedom, to be large, ungainly, irresponsible, and also an acknowledgement of powerful forces which elude any control they exercise.”

(Robert. Harbison,1991)

outside

IR

Air layer inside

103/ Insulation properties of ETFE. Showing how the material works to insulate the interior of the building.

102

ETFE film

ETFE film

Garden 06 104/ Canary Wharf Crossrail, London.

Foster+Partners. The project shows how this garden, designed to be micro climate, acts as a gateway or entry to canary wharf.

105/ Atocha Train Station, Rafael Moneo. The covered tropical garden is placed in the centre with retail stores and amenities surrounding it.

103

Paddington Reservoir The garden becomes key to how the design fits within the wider landscape of both Mahara Place and Waikanae.

It is logical for the interior garden to be a flexible space, works for the community in multiple ways; community garden, meeting area, exhibitions and performance space.

However by doing this, it may detract from the wider setting. Removing people from the existing street could mean that the remaining Mahara Place would continue to decline in use.

Paddington Reservoir, Sydney, highlights how two types of socially zoned spaces can emerge in an urban setting.

The common busy community space happens at street level in Walter Read and John Thompson Reserve, with parallels to the wider Mahara Place precinct. The ‘Sunken Garden’ is designed in the original reservoir. This space, a tropical garden with reflection ponds, seating and shade, contrasts the rest of the urban space above. Similar to Paddington Reservoir, the garden within the Parker Building raises the problem of entry points to draw people into the solitude. The case study is accessible via a raised boardwalk around the exterior and with stepping stones into the interior. Grand staircases allow change in level from the street. (JMD Design, 2009)

104

Key detail is change of height to allow for a separation of atmosphere and emotion.

Grand entrance way allows for a gradual descent and observation of the sunken garden

rden

Lower Level

Mid Level

Top Level

106/ Paddington Reservoir Sections.

107/ Parker Building, Garden design

Solution 07/ The outcome of design research.

108/ Parker Building

Fig 112

Screens of planting separate areas while retaining the transparency and lightness of the space.

Screens can be temporary and the pallet offsets the concrete framework.

109/ The section of the design solution highlights the relationship of the new interior into the urban setting. The stores create a light sympathetic interior, as an active edge. This area is contrasted by a sedate garden. The overall space complements the existing site, not taking away from the wider possibilities of a community centre.

Fig 113

Fig 111

7000

4000

800

Solution 07 Modular shelves allow for prefabrication and alteration by users to suit the changing needs of the retail spaces.

110/ Model of adjusted building.

Privacy Panel, increasing threshold into store various elements can be used to change the make-up of the space depending on product or service offered.

Timber referenced the identified provincial aesthetic and links it to the modernist era residential built in furniture in a contemporary way.

Common walkway creates increased flow of people past stores and enforces the tight knit community feel of the space. The grid pattern enforces order while allowing visual openness.

111/ Exploded store frame, shows light weight construction. Scale 1:50

113

Steel banisters connect to the concrete structure of the existing, alluding to contrasting the Modernist Building.

Pre cast concrete panels make it the ramp, which floats above the courtyard. In encourages new perspectives on the courtyard.

112/ Ramp detail. Scale 1:25

114

Solution 07 With seating placed on the edge of the garden, the users are immersed within nature. The planting allows for a softened edge.

The materiality of the timber seating softens the concrete, it connects the materials not only to nature but to provincial New Zealand.

Recessed flooring digs into the roots of the existing building, replacing them with trees, mimicking the artificial canopy

113/ Courtyard seat detail. Scale 1:25

116

Solution 07 Retail stores, positioned within the grid. Each shop is framed by a window opening.

ETFE roof creates an open sun filled courtyard.

Open roof element takes grid from existing building.

Intervention fits within the envelope of the host building.

114/ Axonometric Intervention. The intervention highlights how the design mimics geometric symmetry present in the existing building.

117

Solution 07 New roof structure lets in natural light.

Upper floor small retail, overlooks interior garden.

Walkway connects the two sides of upper floor

Open courtyard allows for flexible programme.

115/ View of courtyard from first floor. Frames in garden continue the same language as the stores.

Plants allow for natural growth to create organic feel.

119

Discussion 08/ A critical reflection of the design process.

116/ Parker Building

Preservation; more than merely saving material existence The primary driver for most preservation projects is “the protection of buildings from our recent past” (Prudon, 2008) and “[safeguarding] them for generations” (ICOMOS, 1965). There is a focus on materiality and their long history. However, Modernist buildings create an additional challenge due to age, decay of temporary materials and times of social change. Theory indicates to three key topics and the preservation of them: t Repairing and Restoring t Adding to, and t Enhancing Aesthetics Repairing and Restoring The core principle and practice, traditionally, is “better preserve than repair, better repair than restore, better restore than reconstruct” (Prudon, 2008). This statement is the common thread between the Venice Charter and Docomomo (‘Docomomo’, n.d.; ICOMOS, 1965).

The theorists set guidelines focussing on restoration and conservation. The key aspect of this method is to reinstate the building to its original state.

Contrasting this restoration process, the thesis research has led to the preservation of the internal structure and

122

shell of a Modernist Building. This preservation keeps the facade at its current state, rather than the 1970s version. This, informed by research into ruins (pg. 70), shows how the entire history of a building is important.

By removing parts of the interior, it allows for a new fit out responding to temporary yet specific social functions.

Traditional Repairing and Restoring, does not respond to the current community, wider setting of Waikanae and provincial New Zealand. The design allows for contemporary function, within an aging building.

Adding to As opposed previous theorists, who promoted the restoration of a building, Fedorchenko, De Smedt and Henriksson discuss the selection and protection of aspects of built history, amplifying the past while adding to, fitting within new requirements – in the case of this design research project, the growing presence of Big Box retail in provincial centres and the implications on how Modernist Buildings are programmed. The role of the architect becomes one of fitting new architecture within the existing- adding to (De Smedt, 2015; Fedorchenko, 2015; Henriksson, 2015). By adding to the Parker Building’s existing shell in a unique and careful way, while also selecting parts of history to preserve, transitions between old and new are formed. Using the “weight

Discussion 08

of history as a spring board” (Henriksson, 2015), the addition of light timber market structures adds a flexible new programme, while allowing the structure to remain as the backdrop for the activity within. Adding to allows the ‘working interior’ to change and transform to the needs of the tenants and community over time, further adding to the ruins.

Enhancing Aesthetics Enhancing aesthetics sits somewhere between restoration and addition, acknowledging the past and natural progression of time, allowing the building’s story to be told (fig 70). Otero-Pailos (2015), takes casts of dust, highlighting weathering of the building, showing an imprint of a point in time rather than restoring to the original design (Prudon, 2008). The project has allowed

for the natural weathering of the buildings shell, the shell becomes like a ruin with the new function naturally growing and changing within. Otero-Pailos, similar to Matta-Clark (fig 72) and Whiteread (fig 73), shows how the aesthetics or part of the aesthetics can be preserved in the form of art or installation. This preservation technique has a focus on acknowledging the buildings whole history.

The research has shown that there are many ways of approaching the task of preservation. Case studies and theory indicates three key approaches- Repairing and Restoring, Adding to, and Enhancing Aesthetics.

However, for each preservation case there are other factors to consider- site, type of building, present and proposed function, budget and aesthetics. The design research for

117/ Enhancing Aesthetics

BIG CHANGES

SMALL CHANGES Repairing and Restoring

Adding To

Enhancing Aesthetics

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the Parker Building highlighted how for a particular building, a combination of key approaches was most appropriate. It allowed for respectfulness of the building, while transforming it into a modern day functional space.

The preservation is still about maintaining the building for the future, “[sustaining] it for future generations” (Prudon, 2008), but as a useable, reactivated space.

The aim for the reactivation was always to show how modernist buildings in provincial New Zealand can be used in a contemporary way. The buildings are part of our history, so should be respected. The contrast to this is demolition. The research leads to a cost effective alternative to traditional restoration. It doesn’t make sense, financially or socially, to knock them down, instead we should alter them to work for today’s generation. Timber structures, flexible programme and open spaces allow for the building to alter again with changing needs.

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Discussion 08 118/ Parker Building

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Provincial Modernism in New Zealand; interiors within a broad context.

Interior architecture can be designed in isolation from context, responding to the host building and programme, ignoring what is outside the building envelope. Provincial New Zealand and Mahara Place question what makes design purely provincial.

An initial hunch design was a mixed use community within a dense market street. Hypothesising the densification of Waikanae, supported by a new community at Mahara Place, involved ‘inserting’ additional programmes into existing buildings. McWilliams (2015) explores how specific, dense cultures translate to an urban site, focusing on a consumer lead society with “cafes and niche shops” (Cumming, 2015). Mahara Place is not currently urban, however the design experimented with scale. By translating the dense East London urban fabric into a single building, it provides a framework for the growth of market stall holders and independent business, appealing to the consumers and producers alike. This application appears fitting for provincial New Zealand, a creative and technology driven area, with less materialistic generations, limited space and demand (McWilliams, 2015). Many of these derive from a limited budget, hence the context of provincial New Zealand.

and placement within the context of the Parker Building, Mahara Place, Waikanae, Kapiti Coast, Provincial New Zealand, New Zealand as a whole and Modernist Buildings.

The interior space responds to these contexts, mimicking dense retail experiences. The context and scale of provincial New Zealand reshapes the needs and requirements of retail by shrinking the urban scale into a building. This acknowledges population parameters of small towns. Small box retail shows an alternative for a provincial setting. Hall (2015) shows how mixed retail works with mixed demographics.

Small Box Retail (pg. 89) discusses how this programme is best suited to the edge of the building, an appropriate solution to the wider context. With the edge activated, an interior garden was developed for the remainder of the building. This programme, seen in Atocha Train Station,

by Rafael Moneo and Cross Rail by Foster+Partners, brings nature into the interior. By breaking the trend of concrete public spaces, the project creates inhabitable spaces which allow for circulation, socialisation and tranquillity. The connection to nature is important in Provincial townships; bringing people and the external This concept from reactivation allowed for responsiveness environment into the space.

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Discussion 08

The wider context informed experiments of materiality, programme, atmosphere and preservation. Research of how the building could be reactivated by integrating these experiments into the site, context and contemporary nature helped to answer what is purely provincial.

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119/ Kapiti Coast

Programme; or anti-programme Form follows function (Sullivan, 1896), however the thesis has struggled with solutions to programme. In order for functional preservation, the correct programme was necessary to assist with design decisions. The building has had a high turnover of tenants, similar to many other provincial buildings. The contemporary solution allows function to be foremost, letting programme and aesthetics to organically develop as needs change.

As discussed above, with big and small box retail, the building needs a flexible programme. Retail is ideal for town centres. The research showed that the size and organisation of current retail in Mahara place was an issue.

itself (Gatley & Lima, 2008). Working as an alternative to a community hall, the space could transform into an art gallery, musical and theatrical performance space, farmers market, community vegetable garden or meeting space.

Functions of the garden became an important tool to reflect on aims of the research, including that of the wider site. Refocusing on this revealed the need for buildings to support and reflect Mahara Place as a whole. Like a market, the stores would be draw people into the building with its niche and personalised products, helping to reactivate it.

The central garden becomes a flexible community space; it may remove reactivation possibilities for the rest of the street. Community activities, such as farmer’s market, could easily occur in the large street spaces.

The interior garden became an anti-programme move for the interior of the building, enclosed by the façade of retail and the existing walls. A garden has the ability Allowing the centre of the building to be purely a tranquil to work for the community, becoming a flexible space, garden there is opportunity for the space to be changed adaptable and open planned like the modernist building in the future. Light timber frames and relaxing seating in

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the garden, means that if requirements for the buildings were more specific in the future, the building could be easily changed- enhancing the adaptability.

Retail is important to the site, however without a programme there were risks and challenges that could be explored without the identification of traditional retail programme issues. A final programme was introduced late in the design process, when the formal language was already developed. This language developed by examining how different parts of the building work together, like an ecology. A variety of ‘elements’ were designed to change spatial understanding which when combined, formed a design scheme along with a fitting anti-programme.

120/ Mahara Place

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Conclusion 09/

121/ Parker Building

The pursuit of reactivation has led to the development of an interior design that reflects the social, economic and site constraints of provincial New Zealand. The design, an interior garden with small retail on the perimeter, acts as a solution not only to preserve a modernist building but also revitalise the shopping prescient.

The research, set in Waikanae, Kapiti Coast, fits into a wider body of research - Settling Regional Landscapes: Kapiti Horowhenua. Similar issues of resilience, development and urban systems can be explored at the scale of interiors. The design solution is strongly influenced by its setting within the landscape of a provincial town and its demographics, issues, trends and lifestyles.

Taking the Roof off the Modernist

Enclosed Garden

Courtyard

The provincial township, in 2016, is one of decline; empty stores, lack of community space and a sense comradeship.

These towns have the ability to be reactivated, responding to modern-day needs. Mahara Place, Waikanae, should be an energetic town centre, however it is a place of tiredness. The buildings could be used more practically to assist current needs.

The design research became a search for reactivation, something that could mobilise a suitable alternative. It

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‘Small Box’ Retail

122/ Thesis Summary

Conclusion 09

was influenced by the site and constraints, such as the beyond the original scope, producing an alternative suitability for provincial New Zealand e.g. budget and output. source of material, becoming a balance of issues such as preservation and programme. The modernist case study The research leads onto further investigation: raised issues of appropriate responses to preservation; t How can a similar process be used to reactivate is it one of protection, reinstatement, demolishment or alteration? The process became a range of iterative other under used buildings in Mahara Place? concepts, exploring hunches and theoretical ideas for the site. t Is this an appropriate solution for other modernist The research explored the constraints and commonalities of the interior architecture discipline, alongside critiquing architecture preservation. Much of this was influenced by the context, where a contemporary multi-million dollar solution would not be appropriate. The design looked at how an interior can and should be influenced by more than what is happening within the walls.

buildings? t How could other provincial towns be designed in a similar way to this case study? t How will the interior adapt to future programmatic needs?

Formed by retail densities, decline and degradation of disused buildings, courtyards and gardens, and developing preservation standards, the research forms a solution of a tranquil interior garden surrounded by an active series of retail stores.

Overall, this research is one solution that begins to reactivate Mahara Place and the larger Waikanae Township. Resilience in the provinces can and should involve using current buildings, adapting these to contemporary needs. Preservation should work with a similar ethos, using what is available, while allowing it to The solution only tackles a single type, location and work for today but change again in the future. problem, however this design process could be used

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References and Figures 10/

123/ Mahara Place

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Gatley, J., & Lima, D. A. e. (2008). Long live the modern: Harbison, R. (1991). The built, the unbuilt, and the New Zealand’s new architecture, 1904-1984. Auckland, unbuildable : in pursuit of architectural meaning (1st N.Z: Auckland University Press.

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Ernst. Neufert. (1980). Architects’ data (2d (international) Hall, S. (2012). City, street and citizen : the measure of English ed..). StAlbans, Eng: Granada Pub; New York. the ordinary. London: Routledge.

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ICOMOS. (1965). International Charter for the McWilliams, D. (2015). The Flat White Economy. UK: Conservation and Restoration of Monuments and Sites Gerald Duckworth & Co Ltd (12 Mar. 2015).

(The Venice Charter 1964). Retrieved from www.icomos. org/charters/venice_e.pdf

JMD Design. (2009). Paddington Reservoir. Retrieved Otero-Pailos, J. (2015). Jorge Otero-Pailos 120TALKS 20 January 2016, from http://www.jmddesign.com.au/ 2015. Retrieved from https://vimeo.com/121549825 paddington-reservoir/

Kapiti Coast District Council. (2015). Mahara Place- 2,3 Prudon, T. H. M. (2008). Preservation of Modern ,5,6,7,8,9,10,12,13,14,15,16,18 Main Road- 50. Kapiti Architecture. Hoboken, NJ: Wiley.

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Krag, M. M. S. (2014). Transformation of Abandonment, Stockwell, D. (2009). The impact of big box retailing a New Critical Practice. In Creative Practice Conference on the future of rural SME retail businesses: a case 27-29 August Papers (pp. 55–62). ADAPT-r. study of the South Taranaki district (Thesis). Auckland University of Technology. Retrieved from http://aut. researchgateway.ac.nz/handle/10292/763 138

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Sullivan, L. H. (1896). The tall office building artistically considered. Retrieved from https://archive.org/details/ tallofficebuildi00sull

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Zoio, N. (2015, July 24). Is Whanganui city centre in decline? Retrieved from https://insideretail. co.nz/2015/07/24/is-whanganui-city-centre-in-decline/

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Figures Note. All figures not attributed are author’s own.

Figure 15

Waikanae Satellite Imagery. Google Earth, sourced from Kapiti Coast District Council 2007

Figure 16

Waikanae Satellite Imagery. Google Earth, sourced from Kapiti Coast District Council 2007

Figure 17

Waikanae Satellite Imagery. Google Earth, sourced from Kapiti Coast District Council 2007

Figure 32

Parker Building Archive Drawings, 1998. Kapiti Coast District Council. (2015). Mahara Place- 2,3,5,6,7,8,9,10,12,13,14,15,16,18 Main Road- 50. Kapiti District Council. CD.

Figure 33

Parker Building Archive Drawings, 1979. Kapiti Coast District Council. (2015). Mahara Place- 2,3,5,6,7,8,9,10,12,13,14,15,16,18 Main Road- 50. Kapiti District Council. CD.

Figure 34

Parker Building Archive Drawings, 1979. Kapiti Coast District Council. (2015). Mahara Place- 2,3,5,6,7,8,9,10,12,13,14,15,16,18 Main Road- 50. Kapiti District Council. CD.

Figure 38

Scott, John. Maori Battalion Memorial Hall, 1964. Palmerston North. Long Live the Modern. Gately, Julia. Auckland: Auckland University Press, 2008: 134. Print.

Figure 39

Ministry of Works. Government Precinct, 1973-1974. Nelson. Long Live the Modern.

Gately, Julia. Auckland: Auckland University Press, 2008: 154. Print.

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Figure 41

Daniell & Wevers. West Kindergarten, 1954-1955. Masterton. Long Live the Modern.

Gately, Julia. Auckland: Auckland University Press, 2008: 71. Print.

Figure 42

Simpson, Lew. Georgetown Baptist Church (now Grace Presbyterian Church), 1967.

Invercargill. Long Live the Modern. Gately, Julia. Auckland: Auckland University Press, 2008: 160. Print.

Figure 43

McNaught, Peter. Whangarei Harbour Board Administration Building (now Northport Ltd Building), 1962-1963. Northland. Long Live the Modern. Gately, Julia. Auckland: Auckland University Press, 2008: 133. Print.

Figure 44

Firth, Cedric. McKenzie House, 1958. Wellington. Modern New Zealand Homes from 1937 to 1977. Hansen, Jeremy. Auckland: Random House New Zealand, 2013: 36. Print.

Figure 45

Donner, Tibor. Donner House, 1947. Auckland. Modern New Zealand Homes from 1937 to 1977. Hansen, Jeremy. Auckland: Random House New Zealand, 2013: 29. Print.

Figure 46

Archstudio. Rong Bao Zhai Coffee Bookstore, 2015. Beijing, China. 20 July 2015. Web. <http://www.archdaily.com/771740/rong-bao-zhai-coffee-bookstore-archstudio?ad_ content=771740&ad_medium=widget&ad_name=featured_loop_main>

Figure 56

CUT Architectures. Community Centre CLEC, 2014. Montreuil, France. 14 July 2015.

Web. <http://www.archdaily.com/589817/community-centre-clec-montreuil-cutarchitectures>

141

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Minson, Stewart. Timaru Telephone Exchange, 1957. Timaru. Long Live the Modern.

Gately, Julia. Auckland: Auckland University Press, 2008: 82. Print.

10

Figure 40

Figure 60

Rh+ Architecture. New University Library, 2013. Cayenne, French Guiana. 30 June 2015.

Web. <http://www.archdaily.com/475800/new-university-library-in-cayenne-rharchitecture>

Figure 70

Krag, Mo Michelsen Stochholm. Action D3: Controlled Ruin, 2014. Denmark. Creative Practice Conference Papers. Ed. Verveke, Johan; Biesen, Hanne Van Den; Berghe, Jo Van Den: Artoos NV, 2014. 59. Print.

Figure 72

Matta-Clark, Gordon. Conical Intersect, 1975. Paris, France. 12 January 2016. Web. < http://www.artinamericamagazine.com/news-features/previews/the-agenda-this-week-inlos-angeles-2/

Figure 73

Whiteread, Rachel. Ghost, 1990. London, England. 12 January 2016. Web <https:// simonharutyunyan.wordpress.com/2015/03/18/thomas-demand/>

Figure 74

The Theatre of Marcellus, 13BC. Rome, Italy. 10 August 2015. Web. <http:// umnistanbulstudyabroad.com/2014/02/05/ghetto-fabulous/>

Figure 89

Rye Lane, 2013. Peckham, England. 22 October 2015. Web. <http:// highwaymeninpeckham.co.uk/chapter-two/>

Figure 90

LSE Cities. Rye Lane, 2012. Peckham, England. 2 November 2015. Web. <https:// lsecities.net/objects/research-projects/ordinary-streets>

Figure 93

Beumer, Guus Beumer and Heuvel, Drik van den. Open: A Bakema Celebration, 2014. Venice, France. 16 November 2015. Web. < http://www.archdaily.com/525042/ inside-open-a-bakema-celebration-the-dutch-pavilion-at-the-2014-venice-biennale>

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Figure 103

Advantages of ETFE Film. 16 October 2015. Web. <http://www.makmax.com/business/ etfe_advantages.html>

Figure 104

Foster + Partners. Crossrail Station, 2007. London, England. 14 October 2015. Web. <http://www.skyscrapercity.com/showthread.php?t=871486&page=107>

Figure 105

Moneo, Rafael. Atocha Station, 1992. Madrid, Spain. 3 November 2015. Web. <http:// inhabitat.com/madrids-atocha-station-doubles-as-an-indoor-botanical-garden-and-turtlesanctuary/>

Figure 106

JMD Design. Paddington Reservior, 2009. New South Wales, Australia. 20 January 2016.

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Patio de la Acequia, 13th Century. Andalusia, Spain. The Enclosed Garden. Aben, Rob and Saskia de Wit. Rotterdam: The Authors and 010 Publishers: 64. Print.

10

Figure 101

Appendix 11/

124/ Parker Building

Appendix A 01- Service spaces and bathroom facilities located at rear of building to allow open facade to street.

02- Accessible lift added in 1998.

03- Existing 90degree stair, replaced with straight staircase in 1979.

04- Handrails inserted on both sides of staircase for accessshows increased awareness for safety in accessibility.

05- No intermediate space between interior and exterior.

Same as other entry point.

06- Open floor plan with three structural columns. Allows for re configuration. Supports open planned programme.

Function becomes the most important element.

08- Partition walls create privately zones retail spaces, each with a separate entrance.

09- 78degree corner. Aligns with Mahara Place.

10- New entry, designed in 1998. Includes ramp. Creates private entry points for ground floor tenants. Breaks intended facade.

11- Visual link to Mahara Place. North West.

12- No intermediate space between interior and exterior.

Same as other entry point.

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Appendix 11 04 02

01

05

5000

3000

03

06

08

5000

23000

5000

07

10 12

4800

09

11

4800

4800

4800

4800 37000

125/ Ground Floor 1:200. Assessment of existing building. 9 Mahara Place.

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4800

4800

Appendix B 01- Bathroom facilities located at rear of building to allow open facade to Mahara Place. Similar facilities located on ground floor.

02- Foyer space at top of stairs.

03- Corridor. Circulation at rear of building.

04- Views to Mahara Place. South West facing.

05- Precast concrete floor slab.

06- Partitions mimic ground floor plan.

07- Overhand between ground and first floor. Creates sun shading for ground floor from north facing facade. Does not create any shading for upstairs offices.

08- Windows. Views out to Mahara Place. North West facing. Views are towards coast.

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Appendix 11 700 6300

03 01

04

05

02

13000

23000

06

3000

08

07 24000

13000 37000

126/ First Floor 1:200. Assessment of existing building. 9 Mahara Place.

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Appendix C 01- Flat roof with extended pitch. Relates back to modernist design.

02- Repeated windows.

03- Overhang between ground and first floor.

04- New entry, designed in 1989.

05- Tiled facade around windows and on columns on ground floor. Details that do not necessarily fir with rejection of ornamentation of modernist architecture.

06- Entry points at ends of building.

07- Neighboring building.

08- Entry points at ends of building.

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Appendix

1600 1200

11

01

9600

3200

02

3600

03

04 05

06 4800

4800

4800

4800

4800

4800

4800

34000

9700

3200

1600 1200

127/ West Elevation 1:200. Assessment of existing building. 9 Mahara Place.

07 3700

08

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128/ East Elevation 1:200. Assessment of existing building. 9 Mahara Place.

Ta k i n g t h e R o o f o f f a Modern Building

Helen Alice Brunskill

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